Allegory

Allegory of Music by Filippino Lippi (between 1475 and 1500): The "Allegory of Music" is a popular theme in painting. Lippi uses symbols popular during the High Renaissance, many of which refer to Greek mythology.

As a literary device, an allegory in its most general sense is an extended metaphor. Allegory has been used widely throughout the histories of all forms of art, largely because it readily illustrates complex ideas and concepts in ways that are comprehensible to its viewers, readers, or listeners. Allegories are typically used as literary devices or rhetorical devices that convey hidden meanings through symbolic figures, actions, imagery, and/or events, which together create the moral, spiritual, or political meaning the author wishes to convey.[1]

One of the best known examples is Plato's Allegory of the Cave, a part of his larger work The Republic. In this allegory, there are a group of people who have lived chained in a cave all of their lives, facing a blank wall (514a-b). The people watch shadows projected on the wall by things passing in front of a fire behind them and begin to ascribe forms to these shadows, using language to identify their world (514c-515a). According to the allegory, the shadows are as close as the prisoners get to viewing reality, until one of them finds his way into the outside world where he sees the actual objects that produced the shadows. He tries to tell the people in the cave of his discovery, but they do not believe him and vehemently resist his efforts to free them so they can see for themselves (516e-518a). This allegory is, on a basic level, about a philosopher who upon finding greater knowledge outside the cave of human understanding, seeks to share it as is his duty, and the foolishness of those who would ignore him because they think themselves educated enough.[2]

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Etymology[edit]

First attested in English in 1382, the word allegory comes from Latinallegoria, the latinisation of the Greek ἀλληγορία (allegoria), "veiled language, figurative,"[3] which in turn comes from both ἄλλος (allos), "another, different"[4] and ἀγορεύω (agoreuo), "to harangue, to speak in the assembly"[5] which originate from ἀγορά (agora), "assembly".[6]

Types[edit]

Northrop Frye discussed what he termed a "continuum of allegory", a spectrum that ranges from what he termed the "naive allegory" of The Faerie Queene, to the more private allegories of modern paradox literature.[7] In this perspective, the characters in a "naive" allegory are not fully three-dimensional, for each aspect of their individual personalities and the events that befall them embodies some moral quality or other abstraction; the allegory has been selected first, and the details merely flesh it out.

Many ancient religions are based on astrological allegories, that is, allegories of the movement of the sun and the moon as seen from the Earth. Examples include the cult of Horus/Isis.

Classical allegory[edit]

In classical literature two of the best-known allegories are the Cave in Plato's Republic (Book VII) and the story of the stomach and its members in the speech of Menenius Agrippa (Livy ii. 32). In Late Antiquity Martianus Capella organized all the information a fifth-century upper-class male needed to know into an allegory of the wedding of Mercury and Philologia, with the seven liberal arts the young man needed to know as guests.[8]

Other early allegories are found in the Hebrew Bible, such as the extended metaphor in Psalm 80 of the Vine and its impressive spread and growth, representing Israel's conquest and peopling of the Promised Land.[9] Also allegorical is Ezekiel 16 and 17, wherein the capture of that same vine by the mighty Eagle represents Israel's exile to Rome.[10]

Medieval allegory[edit]

Allegory has an ability to freeze the temporality of a story, while infusing it with a spiritual context. Medieval thinking accepted allegory as having a reality underlying any rhetorical or fictional uses. The allegory was as true as the facts of surface appearances. Thus, the Papal Bull Unam Sanctam (1302) presents themes of the unity of Christendom with the pope as its head in which the allegorical details of the metaphors are adduced as facts on which is based a demonstration with the vocabulary of logic: "Therefore of this one and only Church there is one body and one head—not two heads as if it were a monster... If, then, the Greeks or others say that they were not committed to the care of Peter and his successors, they necessarily confess that they are not of the sheep of Christ." This text also demonstrates the frequent use of allegory in religious texts during the Medieval Period, following the tradition and example of the Bible.

In the late 15th century, the enigmatic Hypnerotomachia, with its elaborate woodcut illustrations, shows the influence of themed pageants and masques on contemporary allegorical representation, as humanist dialectic conveyed them.

The denial of medieval allegory as found in the 11th-century works of Hugh of St Victor and Edward Topsell's Historie of Foure-footed Beastes (London, 1607, 1653) and its replacement in the study of nature with methods of categorization and mathematics by such figures as naturalist John Ray and the astronomer Galileo is thought to mark the beginnings of early modern science.[11]

Poetry and Fiction[edit]

It is important to note that while allegoresis may make discovery of allegory in any work, not every resonant work of modern fiction is allegorical, and some are clearly not intended to be viewed this way. According to Henry Littlefield's 1964 article, L. Frank Baum's The Wonderful Wizard of Oz, may be readily understood as a plot-driven fantasy narrative in an extended fable with talking animals and broadly-sketched characters, intended to discuss the politics of the time.[12] Yet, George MacDonald emphasized in 1893 that, "A fairy tale is not an allegory," in direct reference to The Wonderful Wizard of Oz.[13]J.R.R. Tolkien's The Lord of the Rings is another example of a well-known work sometimes perceived as allegorical, yet as the author himself once stated, "...I cordially dislike allegory in all of its manifestations and I have always done so since I grew old and wary enough to detect its presence."[14] While this does not mean his works may not be treated as having allegorical themes, especially when reinterpreted through postmodern sensibilities, it at least suggests that none were conscious in his writings. This further reinforces the idea of forced allegoresis, as allegory is often a matter of interpretation and only sometimes of original artistic intention.

Like allegorical stories, allegorical poetry has two meanings – a literal meaning and a symbolic meaning. Some unique specimens of allegory in poetry can be found in the following works:

Many statues of Lady Justice: "Such visual representations have raised the question why so many allegories in the history of art, pertaining occupations once reserved for men only, are of female sex."[16]

Albrecht Dürer, Melencolia I (1514): Unused tools, an hourglass, an empty scale surround a melancholic woman, other esoteric and exoteric symbols point to her alleged mental state.

Bronzino, Venus, Cupid, Folly and Time (c. 1545): The deities of love are surrounded by allegories of Time (a bald, man with angry eyes), Folly (the young woman-demon on the right, possibly also so old woman on the left).

Titian, Allegory of Prudence (c. 1565–1570): The three human heads symbolise past, present and future, the characterisation of which is furthered by the triple-headed beast (wolf, lion, dog), girded by the body of a big snake.

The English School'sAllegory of Queen Elizabeth (c. 1610), with Father Time at her right and Death looking over her left shoulder. Two cherubs are removing the weighty crown from her tired head.

Jan Vermeer, The Art of Painting (c. 1666): Painting is shown as related to history and politics, the young woman being Clio, the muse of history, and other symbols for the political and religious division of the Netherlands appearing.

Video Games[edit]

As video games have become a more legitimate medium for artistic expression, allegorical representations have grown more commonplace.

In Rockstar games third-person crime shooter, L.A Noire (2011), the fictional protagonist is required to solve the Quarter-Moon Murders by means of Percy B. Shelley allegories left by the murderer who committed the infamous Black Dahlia Murder.

The 2012 game Journey invokes multiple allegories, such as the our personal life journey, and the Hero's Journey.